The cello lends itself particularly well to the slower, more romantic type of encore piece, and particularly ill (some will think) to the alternative incendiary type. This latter point need not be argued at the moment, the type not being represented here at all; instead the whole emphasis is on the romantic. And as indeed Maisky proves himself a superlative exponent of exactly this type, few will quarrel with that decision.
Not by any means was all the music written for solo cello in the first place: but in every case it is impossible to believe the composer could feel affronted by the change of timbre. The Chopin B minor piano prelude, for example: could even Chopin claim this to be a piano tune, ruined by transfer to the cello? Nor could Faure, surely, not think this a viable alternative version of Apres un reve (especially just after hearing one of our less satisfactory singers ruining it for us)? If advocacy of the point is needed, Maisky must surely prove his own best advocate; especially when helped along, as here he is, by the best of accompanying and the best of recording. In its field, a total winner.'